
Tom and Jerry. 



<& 




FITZGERALD PUBLISHING CORPORATION 
SUCCESSOR TO 

DICK & FITZGERALD, Publishers, 
NEW YORK. 




PLAYS FOR FEMALE CHARACTERS ONLY 

15 CENTS EACH 

T 

CEANFORD DAMES. 2 Scenes; \\& hours .... e «... 8 

GERTRUDE MASON, M.D. 1 Act; 30 minutes.... .... 7 

CHEERFUL. COMPANION. 1 Act; 25 minutes 2- 

LESSON IN ELEGANCE. 1 Act; £0 minutes „ 4 

MAIDENS ALL FORLORN. 3 Acts; 1^ hours 6 

MURDER WILL OUT. 1 Act; 30 minutes 6 

ROMANCE OF PHYLLIS. 3 Acts; 1M hours 4 

SOCIAL ASPIRATIONS. 1 Act; 45 minutes.....'. 5 

OUTWITTED. 1 Act; 20 minutes 3 

WHITE DOVE OF ONEIDA. 2 Acts; 45 minutes 4 

SWEET FAMILY. 1 Act; 1 hour 8 

BELLES OF BLACKVILLE. 1 Act; 2 hours 30 

PRINCESS KIKU. (25 cents) 13 

RAINBOW KIMONA. (25 cents.) 2 Acts; \% hours..;... 9 

MERRY OLD MAIDS. (25 cents.) Motion Song 11 

PLAYS FOR MALE CHARACTERS ONLY 

J5 CENTS EACH 

M 

APRILFOOLS. 1 Act; 30 minutes 8 

BYRD AND HURD. 1 Act; 40 minutes 6 

DARKEY WOOD DEALER. 1 Act; 20 minutes 3 

WANTED, A. M AH ATM A. 1 Act; 30 minutes 4 

HOLY TERROR. 1 Act; 30 minutes 4 

MANAGER'S TRIALS. lAct;lhour 9 

MEDICA. 1 Act; 35 minutes 7 

NIGGER NIGHT SCHOOL. 1 Act; 30 minutes 6 

SLIM JIM AND THE HOODOO. 1 Act; 30 minutes 5 

WANTED. A CONFIDENTIAL CLERK. 1 Act; 30 minutes 6 

SNOBSON'S STAG PARTY. 1 Act; 1 hour 12 

PICKLES AND TICKLES. 1 Act; 20 minutes 6 

HARVEST STORM. 1 Act; 40 minutes 10 

CASE OF HERR BAR ROOMSKT. Mock Trial; 2 hours.... 28 

DARKEY BREACH OF PROMISE CASE. Mock Trial. 22 

GREAT LIBEL CASE. Mock Trial; 1 Scene; 2 hours 21 

RLDING THE GOAT. Burlesque Initiation; 1 Scene; \]4 hours 24 

DICK & FITZGERALD, Publishers, 18 Ann Street, NY. 



TOM AND JERRY 



A VAUDEVILLE SKETCH IN ONE ACT 



By 

WILLIAM AND JOSEPHINE GILES 
Authors of "Advice Wanted," "Hoosier School,' ' 
"Uncle Si's Predicament," "Bachelor's Elope- 
ment," "Bill Jones," "Rube's Family," 
"Hurricane Wooing," "Tickled to 
Death," Etc. 



Copyright, 1917, by 
Fitzgerald Publishing Corporation 



Fitzgerald Publishing Corporation 

successor to 

Dick & Fitzgerald 

18 Vesey Street New York City 






TOM AND JERRY 



CHARACTERS. 

Tom Straight 

Jerry Black Face 

Time of Playing. — About 25 minutes. 

COSTUMES. 
Eccentric. 

STAGE DIRECTIONS. 

As seen by a performer on the stage facing the audi- 
ence, R. means right hand; l., left hand; c, center of 
stage; up means toward back of stage; down, toward 
footlights. 



i 



o* 



'CI.D 47778 



SEP I! 191? 



TMP92-009244 



TOM AND JERRY 



Scene. — A street. Entrance at r. and l. 

ENTER Jerry at r., singing. ENTER Tom at l. Both 
meet at c. 

Tom. Here, here, stop all that noise. 

Jerry. Noise ? What 's de matter wid yo head, man ? 
I'se singin'. 

Tom {laughing). Singing? 

Jerry. Why, man, I 'm some singer. 

Tom. Where did you ever sing? 

Jerry. Down at my gal 's house once. 

Tom. Once is right. 

Jerry. Say, I'se got some chicken, believe me, an' 
dis nigger am de only chile dat shines in her eye. 

Tom. That's all right about the girl — we are talking 
about singing now. Say, did you ever sing in public? 

Jerry. No; but I sang in a hall once — and before 
ten thousand people. 

Tom. Well, did you make a hit? 

Jerry. Did I make a hit? No, I made a home run. 
You see it was dis way, I sang dat pathetic little love 
ballad entitled "Will Yo Miss Me." A big, husky, 
overgrown son-of-a-gun in de gallery wid a brick in each 
hand said "I'll try not." 

Tom. Well, how did you come out? 

Jerry. De back door. 

3 



4 Tom and Jerry 

Tom. Did you finish the song? 

Jerry. Not me — I done left it foh de house manager 
to finish. All I could think ob was dat back door, and I 
thought sure dat a whole brick yard was followin' me. 

Tom. Why didn 't you stop and tell them something ? 

Jerry. No chance foh an argument dere. But say, 
Tom, why don't you git married? 

Tom. Well, Jerry, I have seven reasons. 

Jerry. Lord man, seven reasons? Foh de Lord 
sake, what am dey? 

Tom. A wife and six children. 

Jerry. Huh, I guess yo all don 't want to git married 
again. 

Tom. No, not for a while yet. 

Jerry. Say, Tom, what's your last name? 

Tom. Wood— Tom Wood. 

Jerry. What's yo wife's name? 

Tom. Her name is Wood, too. Mrs. Tom Wood. 
(Jerry laughs. Tom, surprised) Why, what are you 
laughing at? 

Jerry. I was jist wonderin' if dare was any kindlin'. 

Tom. But, I say, Jerry, how did it ever happen you 
got married? 

Jerry. Two D deep for me, Tom. I 'se never did 

understand it. My wife said it was all right, so I 
thought she knew ; I 'se didn 't put up any argument. We 
jist went over to de parson's and was married — dat's all 
I knows about it. 

Tom. I suppose you paid the parson? 

Jerry. Ob course I'se paid de parson, what yo all 
think I am — a cheap skate? 

Tom. I suppose you give him five dollars? 

Jerry. Five dollars? I should say not. 

Tom. Well, what did you give him? 

Jerry. A dime. 

Tom (surprised). What! give the parson a dime to 
marry you ? 

Jerry. Yes, sir. 

Tom. Well, what did the parson do ? 



Tom and Jerry 5 

Jerry. Well, sir, he done looked at de dime and then 
at me, and den at the gal, and den back to de dime agin, 
and he give me a nickel change back. 

Tom. He sure must be a good guy. 

Jerry. He sure is — I call on him every day. 

Tom. What for? 

Jerry. To tell him if he gives me dat other nickel 
he can hab her back. 

Tom. How do you like your wife? 

Jerry. Out of sight. But say, Tom, that reminds 
me ob something, what's de difference between satisfied 
and contented? 

Tom. Why, there isn't any. 

Jerry. I '11 say dey are, I 'se satisfied I 'se got a wife ; 
but I'se not contented. 

Tom. You don't look very well today, Jerry, what's 
the matter? 

Jerry. Well, sir, I done eat a bean for dinner and 
it's been swellin' in me ever since. 

Tom. How was it cooked? 

Jerry. In two gallons of water. 

Tom. How often do you have chicken? 

Jerry. Every night. 

Tom. Well, don't you know I saw an eagle carrying 
away a child yesterday? 

Jerry. Huh, dat's nothing, why down where I live 
every night yo can see young chickens carrying away 
full-grown men. But believe me, I thought I was get- 
tin ' some chicken when I 'se got my wife ; before we was 
married I told her dat she was sweet enough to eat. 

Tom. What did she say? 

Jerry. She said "I do eat," and after we were 
married I agreed with her. Why, before I was married 
I could live on four dollars a month — and now it costs 
me four dollars a meal jist for her. 

Tom. What do you have to eat? 

Jerry. Beans. 

Tom. Don't you never have a change? 

Jerry. Oh, yes, we have baked beans foh breakfast, 



6 Tom and Jerry 

boiled beans foh dinner, and jist plain beans foh sup- 
per. 

Tom. What do you think of that new dog I've got, 
Jerry? 

Jerry. Say, dat's some dog, I bet he cost some money. 

Tom. What do yon think he's worth? 

Jerry. I give it np. 

Tom. Well, sir, that dog is worth five thousand dol- 
lars. 

Jerry. Five thousand dollars — why, man, dat 's more 
den I 'm worth. 

Tom. Well, some dogs are worth more than others. 

Jerry (starts toward r.) . This way out 

Tom (takes liis arm). Say, Jerry, I'm going to put 
a little vaudeville act on tonight. How would you like 
to help me and make a little change? 

Jerry. What are yo goin' to put on? 

Tom. Oh, a little stunt. 

Jerry. All right, I'se good on dat stunt business. 

Tom. Well, I'll explain the act — (Starts to explain) 
You see I have a lion here 

Jerry (jumps about excitedly). Take dat line away, 
man — take it away. 

Tom (lauglis). Oh, come, Jerry, we only play we 
have a lion. 

Jerry. Oh, it's only in de stunt, huh? 

Tom. Yes. (Points to left of stage) Now here is the 
cage 

Jerry (looks to see cage). Cage here? (Points to 
ivhere Tom points) 

Tom. Yes, right there, don't you see it? 

Jerry. Who, me? 

Tom. Yes, don't you see it? 

Jerry. Wait until I take another look. (Looks close 
to where Tom is pointing) Right here? 

Tom. Yes, right there. 

Jerry (laughing) . Oh, yes, I can see it now, great 
big one, ain't it? 

Tom. Now the lion is in the cage. 



Tom and Jerry 7 

Jerry. Yes, you're de cage. 

Tom. Yes, I'm the cage — no, no, here is the cage. 
(Points l.) 

Jerry. Dat's what I said — here is de cage. 

Tom (points l.) And here is the lion. 

Jerry. And you're de line 

Tom. Yes, I'm the lion — no, no, here is the lion. 

Jerry. Yes, yes, here is de line, dat's what I said. 

Tom. The lion is in the cage. 

Jerry. Yes, you're in de cage — (Laughing) 

Tom. Yes, I 'm in the cage — no, no, the lion is in the 
cage. 

Jerry. Dat's what we said — de line was in de cage. 

Tom. Now we will feed the lion. 

Jerry. Yes, feed de line. 

Tom. You're the chicken. 

Jerry. Yes, yes, you're de chicken. 

Tom. Yes, I'm the chicken — no, no, you're the 
chicken. 

Jerry. Dat's what we said — I was de chicken — some 
chicken. (Laughs) 

Tom. The lion likes chicken. 

Jerry. Dat son-of-a-gun. 

Tom. We will throw you into the cage. 

Jerry. Yes, throw yo' into de cage. 

Tom. Throw me into the cage — no, no, throw you into 
the cage. 

Jerry. Dat's what we said. 

Tom. You're the chicken. 

Jerry. Yes, I'm de chicken; but am I a hen or a 
rooster f 

Tom. It doesn't make any difference — the lion will 
eat you. 

Jerry. Yes, de line will eat me— (laughing. Then 
sees the joke — changes into a comedy expression) Say, 
man, dat line will never eat dis chicken 

Tom (goes to r., pretends he's talking to someone). 
Why, how do you do— why, I did not know you were 
in town. 



8 Tom and Jerry 

Jerry. No, Sir — dat line will have to be a D 

good runner if he ebber gets a bite out of dis chicken — 
(Sees Tom talking to someone — stares in surprise at 
him) 

Tom. Yes — that's so, and I'm very glad you told 
me 

Jerry. Well, what in de yo know about dat? 

{Goes to r., looks close to see wlw Tom is talking to and 
is puzzled) 

Tom. It has been a long time since I saw you — I 
don't just remember when it was. 

Jerry (looking to see who Tom is talking to). Yes, 
I haven't saw you yet. 

Tom. Well, I will come over and see you tomorrow 
night 

Jerry. Huh, he better go tonight, Dere won't be 
nothin' ob it tomorrow night — it's so little now I can't 
see it. 

Tom. All right — good-bye. (Shakes hands. Laughs) 

Jerry (looks close in Tom's hand, then looks at Tom). 
Is it gone? 

Tom. Yes, there she goes (Points off r.) The only 
woman I ever loved. 

Jerry. Huh, it don't take much for him to love. 
But I guess I had better go, I believe this place is 
haunted. (Starts toward l.) 

Tom (grabs him by the arm). I guess you're not 
looking for work. I always thought people lied when 
they told me things about you, but I see they didn't, 
and I must say that I'm surprised at you — (Stamps his 
foot on the floor. Jerry jumps and shrinks) Why, 
you ought to be ashamed of yourself. (Stamps foot. 
Jerry jumps and shrinks) A man like you to do the 
little things that you do — (Stamps foot. Jerry jumps 
and shrinks) You're lazy — (Stamps foot. Jerry jumps 
and shrinks) You're trifling — (Stamps foot. Jerry 
jumps and shrinks) You won't work — all you do is sit 
around the streets and shoot crap. (Stamps foot. Jerry 
jumps and shrinks) Why don't you brace up and be a 



Tom and Jerry g 

man? — (Stamps foot. Jerry jumps and shrinks) Look 
at your wife and eighteen children down there. 
{Stamps foot. Jerry jumps and shrinks) The oldest 
one only seven — just look at them down there in that 
old shack of a house. (Stamps foot — Jerry jumps and 
shrinks) Why, if I were you I would go some place and 
shoot myself. (Stamps foot. Jerry jumps, falls to the 
floor. Tom gives him a gun, then crosses to r.) 

Jerry (takes gun, looks at it, then at Tom, in a very 
comedy expression. Gets up, goes to Tom). Say, Tom, 
I would like to ask you something before I go and shoot 
myself. 

Tom. Well, what is it? Take care of your wife and 
family after you are gone? 

Jerry. No, I'se would like to know what yo all call 
dat speech yo jist handed me. Does yo all call dat a 
ballin' out? 

Tom. Yes, that's what I call a balling out. 

Jerry. Well, de next time you give me a ballin ' out 

— jist give me a D good beatin'. 

Close unth a song. 



CURTAIN. 



COMEDIES AND DRAMAS 

THE DEACON 

Comedy Drama in Five Acts. Eight Males, Six Females 

By Horace C. Dale 

A play of the Alvin Joslyn type, easily staged, so that it can be 

played in any hall. Abounds in humorous incidents and ludicrous 

situations, and has much farcical business. Plays two and a half 

hours. 

PRICE 25 CENTS 

JOSIAH'S COUBTSHIP 

Comedy in Four Acts. Seven Males, Four Females 
By Horace C. Dale 
Requiring but little scenery, can be played in any hall. Is especi- 
ally recommended to dramatic clubs in want of something with good 
comedy feature and forceful but not too heavy straight business. 
Mirth alternates with deep pathos. Plays two hours. 
PRICE 25 CENTS 

THE DEACONS TRIBULATIONS 

Comedy Drama in Four Acts. Eight Males, Four Females 
By Horace C, Dale 
A worthy successor to the ever-popular " Deacon " in which the 
old favorites reappear amid new surroundings. The business is as 
forcible, the situations are as laughable, and act-endings as uproari- 
ous as in the older play. Plays two hours. 
PRICE 15 CENTS 



COLLEGE CHUMS 

Comedy in Three Acts. Nine Males, Three Females 

By Anthony E. Wills 

One interior scene. An ambitionless young man is transformed 

through his college surroundings into an athlete of vigor and spirit. 

Two opposing Civil War veterans and a German professor sustain 

the comedy parts. Plays two hours. 

PRICE 25 CENTS 

SLEEPY HOLLOW 

Drama in Three Acts, Eight Males, Three Females 

By George M. Rosener 

Two interior, two exterior scenes. A romance of the revolution 

occurring at a British outpost in the Catskills. It tells of Singing 

Water's marriage to Capt. Hastings and her father, Silver Bear's, 

revenge for the captain's perfidy : also of the various perils of the 

Morgan scout, Hugh Campbell. The situations are intensely dramatic 

and follow each other quickly. Plays two and a half hours. 

PRICE 25 CENTS 

A WIDOW'S WILES 

Comedy in Three Acts. Seven Males, Eight Females. 

By Emilie H. Callaway 

Three interior scenes. An apparently simple plot, but involving 

unexpected complications which arouse the keenest interest in tke 

fate of the leading characters. Plays two hours. 

PRICE 25 CENTS 



BLACK FACE SKETCHES 



PICKLES AND TICKLES 

Farce in One Act. Six Males 
By Thomas Barnes 
No scenery required. Pickles and Tickles are rival dealers in 
second-hand clothes. Their quarrels, the pranks played by two live 
dummies and the comicalities of " Overanxious " and the " Par- 
son's " ghost, afford ample opportunity to keep the audience in a 
whirlwind of mirth. Will run twenty minutes if played " straight.'* 
PRICE 15 CENTS 



SLIM JIM AND THE HOODOO 

Farce in One Act. Five Males 
By Thomas Barnes 
One interior scene. Full of jokes and abounding in comic •' busl- 
Bess \i.. A bn Sht negro farce. Specialties can be introduced. Will 
run thirty minutes, if played " straight." 

PRICE 15 CENTS 



A HOLY TERROR 

Farce in One Act. Four Males 

By O. Wen lan dt 

One interior scene, or no scene at all. A first class little farce full 

pf genuine fun and humor. Will keep an audience in roars of 

laughter. Specialties can be introduced according to convenience and 

talent. Will run thirty minutes if played " straight." 

PRICE 15 CENTS 

THE DARKEY WOOD-DEALER 

Farce in One Act. Two Males, One Female 
By Charles Townsend 
One interior scene. The Wood-Dealer is one of the best negro 
characters on the stage. The Deacon is highly amusing, and Mrs. 
Deacon (this part may be played by a male) a tremendous hit as 
a " strong-minded " female. The farce is certain to keep the audi- 
ence in a roar from first to last. Pla\s twenty minutes. 
PRICE 15 CENTS 

THE NIGGER BOARDING HOUSE 

Farce in One Act. Six Males 

By O. Wenlandt 

One interior scene. The terrible trials and perplexities of a 

boarding-house mistress, introducing a howling dude, a mischievous 

servant, etc. The farce deals with the lodgers' tribulations and has 

an extremely original funny ending. Plays forty-five minutes. 

PRICE 15 CENTS 

THE NIGGER NIGHT SCHOOL 

Farce in One Act. Six Males 
By Thomas Barnes 
One interior scene. A funny skit full of comic business and darkey 
jokes that will fetch shouts of laughter from the front. Admits o/ 
specialties and plays thirty minutes if played " straight;" 

PRICE 15 CENTS 



_ MALE CHARACTERS 

FUN IN A SCHOOL ROOM 

Farce in One Act. Four Males 

By Harry E. Shelland 

One interior scene. A Dutch dialect teacher and three pupils 

consisting of a Bowery tough, a Hebrew boy, and a rather good little 

boy, create much merriment. Plays forty minutes. 

PRICE 15 CENTS 

i' j ■ ■ — ■ — — . — m 

A MANAGER'S TRIALS 

Farce in One Act. Nine Males 
By A. L. Fisher 
One interior scene. Daniel Slowman's encounters with the various 
applicants who respond to his advertisement will make a mummy 
laugh. The piece is rich in opportunities for easy but telling char- 
acter acting. Plays thirty minutes. 

PRICE 15 CENTS 

■ m 

MEDICA 

Farce in One Act. Seven Males 

By W. K. Engle 

One interior scene. Runs with a snap from beginning to end — 

there isn't a slow part in it. It is sure to please. It will bring 

down the house wherever played. Plays thirty-five minutes. 

PRICE 15 CENTS 

SNOBSON'S STAG-PARTY 

Farce in One Act. Twelve Males 
By Levin C. Tees 
One interior scene. The cast includes a Coon, Dutchman, Irish- 
man, Dago, Cockney. Irishwoman and ward politician. T4ie piece 
will fetch roars of laughter and can be made the medium of all 
kinds of " specialties." Plays " straight," one hour. 
PRICE 15 CENTS 

THE LITTLE RED MARE 

Farce in One Act. Three Males 

By O. E. Young 

One interior scene. By a series of comical episodes the farmer's 

daughter is mistaken for his red mare and the audience is kept in 

roars of laughter over the muddle, till it is finally cleared up. Plays 

thirty-five minutes. 

PRICE 15 CENTS 

~ ■ — »* 

THE WARDROBE OF THE KING 

Burlesque in One Act. Eight Males 
By William J. McKiernan 
One exterior scene. Costumes grotesque and fantastic. An amus- 
ing burlesque for boys, easily produced, full of bright situations, and 
sure to make a hit. The play may be staged very simply, or made as 
elaborate as the producer sees fit. Besides the eight speaking parts, 
the company of officers, suite of the King and Queen, etc., may util- 
ize any number of persons. Plays one hour. Bv the introduction of 
specialtie-s the time may be considerably lengthened. 
PRICE 15 CENTS 



2$$$$S$$$&S^>S$S$S$&sS£^ 



MILITARY PLAYS 

25 CENTS EACH 

M. 

BY THE ENEMY'S HAND. 4 Acts; 2 hours.. 10 

EDWARDS, THE SPY. 5 Acts; 2^ hours 10 

PRISONER OF ANDERSON VILLE. 4 Acts; 2>4 hours.. 10 

CAPTAIN DICK. 3 Acts; 1}4 hours 9 

ISABEE, THE PEARE OF CUBA. 4 Acts; 2 hours 9 

EITTEE SAVAGE. 3 Acts; 2 hours; 1 Stage Setting 4 

BY FORCE OF IMPULSE. (15 cents.) 5 Acts; 2J^ hours 9 
BETWEEN TWO FIRES. (15 cents.) 3 Acts; 2 hours 8 




RURAL PLAYS 

25 CENTS EACH 

MAN FROM MATNE. 5 Acts; 2£4 hours........ 9 

AMONG THE BERKSHIRES. 3 Acts; 2^ hours 8 

OAK FARM. 3 Acts; 2^ hours; 1 Stage Setting 7 

GREAT WINTERSON MINE. 3 Acts; 2 hours.... 6 

SQUIRE THOMPKINS' DAUGHTER. 5 Acts; 2^ hours 5 

WHEN A MAN'S SrNGLE. 3Acts;2hours 4 

FROM PUNKIN RIDGE. (15 cents.) 1 Act; lhour... 6 

LETTER FROM HOME. (15 cents.) 1 Act; 25 minutes 1 



ENTERTAINMENTS 

25 CENTS EACH 

AUNT DINAH'S QUIETING PARTY. 1 Scene......... 8 ** 

BACHELOR MAIDS' REUNION. 1 Scene.... 4 30 

IN THE FERRY HOUSE. 1 Scene; l^hours.... 19 15 

JAPANESE WEDDING. 1 Scene; lhour 3 10 

MATRIMONIAL EXCHANGE. 2 Acts; 2 horns..... 6 9 

OLD PLANTATION NIGHT. 1 Scene; \y< hours. 4 4 

YE VILLAGE SKEWL OF LONG AGO. 1 Scene. 13 12 

FAMILIAR FACES OF A FUNNY FAMILY. ......... 8 11 

JOLLY BACHELORS. Motion Song or Recitation 11 

CHRISTMAS MEDLEY. 30 minutes 15 14 

EASTER TIDINGS. 20 minutes 8 

BUNCH OF ROSES. (15 cents.) 1 Act; 1J^ hours 1 13 

OVER THE GARDEN WALL. (15 cents) 11 8 



DICK & FITZGERALD, Publishers, 18 Ann Street, N. Y. 



LIBRARY OF CONGRESS 



2&S 



COMEDIES AND D 

25 CENTS EACH 




016 103 329 7 



BREAKING HIS BONDS. 4Acts;2hours 6 3 

BUTTERNUT'S BRIDE. 3 Acts; 2J^ hours 11 6 

COLLEGE CHUMS. 3 Acts; 2 hours; 1 Stage Setting 9 3 

COUNT OP NO ACCOUNT. 3Acts; 2% hours 9 4 

DEACON. 5 Acts; 2\& hours 8 6 

DELEGATES FROM DENVER. 2 Acts; 45 minutes 3 10 

DOCTOR BY COURTESY. 3Acts;2hours 6 5 

E ASTSIDE RS , The . 3 Acts ; 2 hours ; 1 Stage Setting ; 8 4 

ESCAPED FROM THE LAW. 5 Acts; 2 hours 7 4 

GIRL FROM PORTO RICO. 3 Acts; 2J^ hours 5 3 

GYPSY QUEEN. 4 Acts; 2y 2 hours 5 3 

IN THE ABSENCE OF SUSAN. 3 Acts; 1^ hours 4 6 

JAILBIRD. 5 Acts; 23^ hours 6 3 

JOSIAH'S COURTSHIP. 4Acts;2hours ^. 7 4 

MY LADY DARRELL. 4 Acts; 2% hours 9 6 

MY UNCLE FROM INDIA. 4 Acts; 2^ hours 13 4 

NEXT DOOR. 3 Acts; 2 hours 5 4 

PHYLLIS'S INHERITANCE. 8 Acts; 2 hours 6 9 

REGULAR FLIRT. 3Acts;2hours 4 4 

ROGUE'S LUCK. 8 Acts; 2 hours 5 3 

SQUIRE'S STRATAGEM. 6 Acts ; 2% hours 6 4 

STEEL KING. 4 Acts; 2% hours 5 3 

WHAT'S NEXT? 8 Acts; 2y % hours 7 4 

WHITE LIE. 4 Acts; 2% hours 4 8 

WESTERN PLAYS 

25 CENTS EACH 

ROCKY FORD. 4 Acts; 2 hours 8 3 

GOLDEN GULCH. 3 Acts; 2J4 hours 11 3 

RED ROSETTE. 3Acts;2hours 6 3 

MISS MOSHER OF COLORADO. 4 Acts; 2\b hours.... 5 3 

STUBBORN MOTOR CAR. 3 Acts; 2 hours; 1 Stage Setting 7 4 

CRAWFORD'S CLAIM. (15 cents.) 3 Acts; 2^ hours. 9 8 

DICK & FITZGERALD, Publisher*, 18 Ann Street, N. Y. 
»^$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$$^ 



